The Dark Knight Rises Falls Short

Warning: Spoilers ahead

Much like numerous other devoted fans, last night I stayed up late to attend a midnight screening of the final installment of Christopher Nolan’s epic Batman franchise, The Dark Knight Rises. Although there were several aspects about this film that made it great, overall it left me shaking my head disapprovingly as I exited the theater.

I’ll first begin with the positive aspects of the film. Without a doubt, the highlight was Anne Hathaway’s performance as Selina Kyle/Catwoman. She stole every scene she was in and, in stark contrast to the over the top performances of the last two women to play Selina, (Halle Berry and Michelle Pfeiffer respectively) Hathaway presented the feline femme fatale in a strong, powerful way that was still seductive and sexy in a subtle way. Tom Hardy’s characterization of Bane was also performed well, although his Eastern European Darth Vader voice seemed more appropriate to a proper interpretation of Doctor Doom than Bane. The returning cast from the two previous films performed admirably as per usual, however Cillian Murphy’s reprisal of Jonathan Crane stands out most memorably or at least in regards to his role in the film.

The cinematography was shot beautifully, and made me ache to see the film in Imax as opposed to the traditional theatrical format. Furthermore, for some strange reason, seeing Bane “Break the Bat” made me the happiest I’ve been since I saw The Avengers for the first time, and I could not stop grinning like an idiot for at least ten minutes. However, the follow-up to this infamous scene from Knightfall marked the first significant issue I had with the movie. When Bane broke Batman’s back in Knightfall, although it was a bit of a cop out, it still took almost a year in real time for Bruce to heal and return as Batman. However in Rises, all Bruce needs to fix his displaced vertebrae is for some random prison inmate to kick him in the spine. I understand the suspension of disbelief needed to enjoy most movies, however this blatant deus ex machina seems even more insulting than Barbara Gordon’s recent ‘miraculous’ recovery in the pages of Batgirl.

As the movie progressed, it became very clear that Joseph Gordon Levitz’s character, John Blake, was going to play a significant role both in the film and in the future of the Batman mythos, in regards to the Nolan-verse. The ending was somewhat predictable, in that Blake assumingly takes on the mantle of Batman, after Wayne is presumed dead. However, the execution of this is done very poorly. For starters, the throwaway line that Blake’s real name is “Robin” is incredibly contrived and lazy; and as a friend of mine said “At least make it Dick Grayson.” When it’s revealed that Bruce had survived the nuclear explosion at which he was in the epicenter, it made me wonder if he had perhaps pre-stocked The Bat with same lead lined fridge Indy used to escape nuclear death in Crystal Skull. Furthermore, seeing Bruce and Selina together happily at the end negates everything that makes there cat and mouse relationship interesting, and plays out like a badly written fan fiction. Moreover, the fact that the movie is bookended by Bruce giving up being Batman, it seems that the writers mis-understood a key aspect about Batman, that he never gives up, and that much like the Punisher, his war on crime is never-ending.

Knowing that Christopher Nolan had previously looked to some of the greatest Batman stories for inspiration, I had presumed going in that since the film had a similar title, and identical initials to The Dark Knight Returns, that several aspects would be taken from that story. A few similarities could be found, such as comparable aspects of the lead antagonists, with Bane mirroring a more intelligent version of the mutant leader; seeing him lead an army against Batman, and even having a mask that aesthetically resembles the mutant’s sharpened teeth. In a broader aspect, both stories see Bruce return from a period of not being Batman, ‘faking’ his own death, and becoming a rallying symbol that inspires the next generation; however, whereas Returns shows Bruce leading a revolution behind the scenes at the end, Rises instead sees him abandoning the cape and cowl for selfish reasons, instead embracing a storybook ending unbefitting of Batman.

All and all, despite my issues, The Dark Knight Rises was not a bad movie. However, I feel that it will go down in the annals of cinematic history in a similar vein as The Godfather Part 3. That is to say, it will be regarded as a good movie overall, and a decent end to a franchise, but since it pales in comparison to its predecessors, and left an unpleasant taste in the mouth of diehard fans, it will unfairly be judged as being horrible overall.

Stan Lee Tackles Shakespeare/One question for Stan Lee

Recently, I attended a book signing in Los Angeles hosted by none other than the name among names, the one and only Stan Lee. The living legend was there promoting one of his most recently completed works, Romeo and Juliet: The War, a futuristic adaptation of William Shakespeare‘s arguably most renowned play. Previously available primarily at conventions, this graphic novel was sold in a hard cover coffee table book styled special collector’s edition.

While waiting in line for Stan to arrive, I was given ample time to peruse the book I had just purchased and see how The Man matches up to The Bard. The first thing one notices upon opening the book is the perpetually spectacular artwork by Skan Srisuwan. He fills the pages with stunning splash pages and breathtaking futuristic cityscapes, making the artwork alone worth the price of the book. Once one begins reading the comic, they learn that in this futuristic Verona the Montagues and Capulets are warrior classes; specifically cyborgs and genetically enhanced humans, making their family relations closer in comparison to West Side Story than the original play.
Stan Lee and Terry Dougas‘ writing style works well in tandem with Shakespeare’s original vision. The humor of the original play often missed by modern audiences is brought to the front with witty and biting dialogue in this new iteration. They also make a point to note the ridiculousness of the “eternal love” forged between the star-crossed lovers after only a night’s acquaintance, another aspect often overlooked by readers today.
Romeo and Juliet: The War may not add anything significant or insightful to the original play, however similarly to Baz Luhrmann‘s 1996 cinematic interpretation, it portrays the tale in a fresh new way that brings the classic tale to a new age, and will entice old fans and modern readers alike.
In getting my copy of the book signed, I was unable to get any good pictures with or of Stan, however I did have sufficient opportunity to ask him one question while he and the other creators signed my book. Seeing this as a once and a lifetime chance to ask the godfather of modern comics a single question, I endeavored to make sure it counted and that it would be a hard hitting question. As the line slowly wound closer, the butterflies in my stomach grew larger and larger; and I began to recite the chorus to Mulan‘s I’ll Make a Man Out of You repetitively in my head as a mantra in order to help keep my composure.
Finally my turn arrived, and I shakily walked up to the table, abandoning hopes of getting my copy of Mallrats signed, I instead focused fully on getting my question answered. Standing before him, I was able to spurt out:

“Hello Mr. Lee.”
“Great Shirt!” he responded, noting my blue on black Fantastic Four t-shirt, causing me to grin from ear to ear before choking out a polite “Thank You.”
Leaning in, I asked him “Would you be able to answer a quick question for The Mary Sue.com?”
Without hesitation, he replied “Sure. Just speak up a bit, I canít hear too well anymore.”
With little to no level of cadence, I began the set up to my question, stating:
“Your most renowned female characters have been primarily auxiliary characters to teams or male counterparts — ”
“They’ve been what kind of characters?” he asked.
“Auxillary.” I repeated.
“Angelic?” he inquired, clearly confused.
“Auxillary.” I reiterated again, as did Terry Dougas, who sat next to him.
“Oh, okay.” He said, now comprehending.
With him now caught up, I repeated the set up to my question, and continued,
“Why is it you have created so few strong, female characters who were made to stand on their own? And why are there so few solo titles with female leads?”
In completing my question, I felt as if I had just asked Santa Claus who gave him the right to judge who was naughty and who was nice.
After pausing a second, Stan graciously replied,
“You’re right. There aren’t that many. The thing is that most people who buy comics are guys. The publishers and the companies worry that there isn’t enough interest in female characters, and that because of that not enough people will buy a solo female title.”
At this point I was swept forward by the oncoming line, my time with Stan clearly at an end. Unfortunately, this meant that I was unable to follow up his answer and ask whether his view on the topic represents the comics industry currently, or if he was speaking on the early days of Marvel. Worse, if he was insinuating the former, then I missed an opportunity to enlighten one of the leaders in the comics industry of the large and ever growing female fan base, as well as the clamoring for more titles based on female characters.

See the original article at themarysue.com here:
Stan Lee’s Romeo and Juliet: The War and the Strong Female Characters Question

Stark Family Coat of Arms

Here is a design I've put together for a T-shirt crossing Iron Man and Game of Thrones:

 

Here it is again in Black:

Ravagers and World’s Finest: A Closer Look at DC’s New Team Books with Female Leads

DC comics has revealed details for their second wave of comics to come out of the rebooted new 52, and a handful of titles promise the return of some fan favorite characters as well as the presentation of female characters in the fore-front. Namely in the former of Ravagers, featuring a new Terra and Beast Boy; and Worlds’ Finest, a title that used to be about Batman and Superman (it also used to be World’s Finest, a feat of punctuational distinction that excites your humble editor), is now housing the triumphant return of Powergirl and The Huntress to the DC Universe.

A new group called the Ravagers is set to hit stands in May following a crossover event called “The Culling,” and it boasts a multitude of revamped classic teen heroes, as well as the introduction of some new ones. Spinning out of the pages of Teen Titans, Legion Lost, and Superboy, the series will focus on the escaped prisoners of the shadowy organization called N.O.W.H.E.R.E. and how they will band together to come to terms with the traumatic experiences they faced while imprisoned, and move forward with their lives. Leading this motley team is Caitlyn Fairchild, of former Gen13 fame, who has been recently seen under the mousy guise of “Red” in issues of Superboy alongside Rose Wilson, who will also play a pivotal role in Ravagers. Joining them will be a rotating cycle of characters. Included in the first issue, we will see a new iteration of the Thunder and Lightning team, with the sibling duo now brother and sister, as opposed to brothers as we have previously seen them. We are also introduced to yet another new Terra, however this one is meant to be the original Tara Markov, albeit with a new look and updated powers. Rounding out the team is Beast Boy, who now sports red fur to reflect the events occurring in the current Animal Man and Swamp Thing comics, and a new monstrous creature named Ridge, who possesses the appearance of alien Armadillo.
A few issues arise looking at the cover of the first issue, namely in regards to the choice in costumes. Fairchild appears to be wearing nothing except her underwear, and the rest of the team look like rejects from Tron: Legacy. Given that the suits being seen are nearly identical to that currently being worn by Superboy, one can assume that they are standard N.O.W.H.E.R.E. issued garb, and are essentially prison uniforms that will be discarded once the characters obtain freedom. In regards to Caitlyn being in her skivvies, let’s just assume she had to “hulk out” of her civilian/scientist attire in a fashion similar to what we have recently seen in Superboy, and hope she’ll return to an outfit similar to what we saw in Wildstorm’s Worldstorm (Also, we can lose the exposed midriff; the 90s are over.)
Another title set for release in the second wave is Worlds’ Finest (top pic), which focuses on the characters of Power Girl and Huntress, bringing them back to their Pre-Crisis roots on Earth 2, where Helena Wayne is Robin, the daughter of Batman and Catwoman, and Karen Starr is the Supergirl of that world. The story follows how the two heroines have been transported to the world of the new 52 (New Earth? Earth 52?) and how they have to adapt to fit in, while attempting to try to find their way home.
The most notable change in this new book is not the characters’ backstories, but instead the change in Power Girl’s costume; specifically the removal of the infamous “Boob window.” Although some fans may mourn the loss of one of the biggest cheesecake factors in comics, the removal of the “Boob window” is a step in the right direction for Power Girl, female superheroes, and the comic industry in general. In the past, the “Boob window” had sadly become the most distinguishing aspect of a great character who has had a rich history, strong connections within the DCU, and unique motivations. It’s removal now allows Power Girl’s character to evolve and grow while being taken seriously, and helps show that women in comics are meant to be realistic, three dimensional characters, not over sexualized eye candy.
Power Girl’s new costume has some very positive aspects, but also possesses problems of its own. The costume covers the previously fabric-less area with a Kryptonian-esque shield meant to reference Power Girl’s connection to Superman, while simultaneously giving Power Girl a symbol of her own. She retains her red cape and classic white leotard, but trades sleeves for pant legs, and replaces her blue gloves and boots for golden ones. Although this overall color scheme and presentation is aesthetically appealing, it is less than iconic or unique, especially since it looks like she simply raided Supreme’s closet, and slapped a “P” on the front.
Going hand-in-hand with the release of Worlds’ Finest is the much anticipated title Earth 2, which has been anticipated to be where we would find blatantly missing Justice Society. However, all that has been revealed thus far is an alternate cover to the first issue which has new rumors buzzing that the Batman and Wonder Woman presented on the cover are none other than Dick Grayson, and the missing Donna Troy. Speculation delves even further into who the young Superman is, whether he is Conner Kent, Mon-el, or some son of Clark. How closely Worlds’ Finest will tie-in to Earth 2 has yet to be seen, but the potential for a Power Girl, Huntress, Donna Troy team-up sounds too good to be true.
- Ravagers picture Clockwise from bottom: (Caitlyn Fairchild, Thunder, Terra, Ridge, Lightning, Beast Boy)

Read it at themarysue.com here 

D.C.'s Red Palace: Beers, Burgers, and Burlesque

Following my New Year's Resolution to explore Washington D.C. more, and try more new and exciting things; a couple weeks ago I decided to attend my first Burlesque show. It has been something I had been wanting to do for a while, and in my excitement I had planned to go over the top and dress up in a full tuxedo, adorned with a top hat, monocle, and cane, and sip scotch in a classy way before and during the performance, as if I was attending a performance back in the golden age of Burlesque. However, I was lucky enough to be attending the show on a date, and my lovely companion Melissa convinced me to tone it down and so I simply showed up in a dress shirt and tie, while she accompanied me in a tastefully elegant blue dress. 

       Upon arrival at the Red Palace, I noticed the distinctively dive bar feel of the place, which immediately endeared me to the location; as did the freak show type theme that resonated throughout the walls and ceiling of the venue. Pictures of Siamese twins joined at the head and alligator boys decorated the area, giving the location a cool, eerie vibe. In lieu of Scotch, we decided that our primary drink for the night would be Bourbon Whiskey, and thus upon arriving at the Red Palace we began imbibing a variety of bourbon shots, while she chased with Jack and Cokes, and I with several beers. Craft beers appeared to be their specialty, and as a fan I was inclined to try several. The one I was most excited about was D.C. Brau which I had only recently heard about in the Youtube video Shit People in D.C. Say. Granted I was a couple shots deep at the time, but I was incredibly disappointed with D.C. Brau. I got it on draft, and it seemed deprived of hops, and possessed a taste best described as sour ass. Luckily, I was able to quickly wash the taste out of my mouth, as I tried another of the Red Palace's specialties; specifically, their signature burger, The Burpoken. It consists of a regular burger with shredded pork on top, and strips of grilled chicken on top of that. Unfortunately, I wasn't given sufficient time to enjoy the burger because as it arrived, they began letting people in to see the show. Therefore, I smothered it in mayonnaise and ketchup and demolished it in under two minutes, much to Melissa's disgust. Despite the dashed dining, The Burporken worked really well, and was generally delicious. It held together badly and was incredibly messy, but the pulled pork blended really well with the burger meat, and the chicken strips seemed to accentuate the entire combination.

Dangrrr Doll

Chris McDaniel

      When we finally entered the show, Melissa and I met up with my good friends Rachel and Jocelyn (AKA Rossalyn) and were surprised to discover that the show was standing room only. This often made it hard to see the show, as the stage was relatively low down. In order to combat this problem, the Red Palace installed a flat screen by the bar in the back where you could see everything being performed on stage, albeit in horrible picture quality.
      The performing Burlesque troupe was called Albert Cadabera's Skullduggery and Skin Show. Cadabera served as the host, and was endearing enough to keep the audience entertained and captivated from act to act, and even carried out an impressive performance of his own later in the show when he swallowed and retrieved a long string  of razor blades.  Dangrrr Doll, and the other scantily pastie clad ladies who highlighted the show performed admirably, but were sadly far from astonishing. The act that absolutely stole the show was that of the handlebar mustachioed cowboy, Chris McDaniel. He opened up showcasing his impressive talents with a lasso, making every man in the house feel like they were 5 again watching a Western in awe. A few minutes later he came back on stage to demonstrate his proficiency with a whip, stimulating the audience to such a degree that Melissa quipped to Rossalyn "I'm taking HIM home tonight." The rest of the show was a whiskey fueled blur. I recall a very talented little dog, named "Ruby the Wonder Dog who I had to watch on the flat screen, but that's about it. Following the conclusion of the show, Melissa and I stumbled out into a snow storm before hitting up a bar called Sticky Rice, and a couple others whose names I don't recall, then inevitably headed home. Overall, I would certainly visit The Red Palace again, either for a couple drinks or for a great show.

*All of the pictures were found online, because I forgot to bring my camera to the show.

Catwoman and Batman Still Having Sex- Batman an Abusive Partner?

Following the controversy surrounding the first issue of the newly rebooted Catwoman series, part of DC Comics’ new 52, one would believe the follow up issue would be a bit more timid, or at the very least, less sexually charged. However, it appears that the intimate scene shared by Batman and Catwoman at the end of the first issue served only as foreplay.

The second issue opens with Batman and Catwoman in the throes of carnal indulgence, which Catwoman describes as “a lot like a bar fight.” The scene is shown in intimate detail, and illustrates a disturbing revelation that Batman is somewhat of an abusive partner. This can be determined by the fact that mid-coitus he apparently yells obscenities at Catwoman while throwing her around the room, bruising her, and choking her. Of course Catwoman is apparently into this, inferring a sort of S&M relationship between the two of them (all that leather suddenly makes sense), making their already strange relationship even more disturbing, because this means Batman basically lets Catwoman break the law and get away with it in exchange for rough sex.

As bothersome as this scene is, it does bring up an interesting question about the nature of Batman. That is, if Bruce Wayne sees Batman as a different persona, does he maintain this character in every aspect of life while in costume, even in a situation as personal and familiar as sex? Is Batman meant to be scary and intimidating in the boudoir, or is he only this way with Catwoman? Was Talia al Ghul thrown about the room in a similar manner during Damien’s conception, or is this “bar fight” style of love making meant to be representative of Batman’s conflicting emotions of love and disdain towards Catwoman?


- See a disturbing re-interpretation of this scene and more at The Mary Sue  where part of my article is posted.

52 Pick Up Part 4

The New 52 in Review: Week 4

Christopher Holden continues a series reviewing the New 52 with…
ALL-STAR WESTERN
All-Star Western opens with Jonah Hex and Amadeus Arkham teaming up to solve the mystery of a slew of Jack-the-Ripper-like murders in 1880’s era Gotham City. As per usual, Jonah Hex is portrayed perfectly by Gray and Palmiotti. However, Hex seems somewhat out of place in Gotham, regardless of the time period. If he remains the main protagonist, I hope the stories return to the plains. Arkham’s internal commentary provides an interesting perspective on the situation, as well as a deeper examination of Hex’s motivations, but ultimately Arkham’s presence proves as annoying to the reader as he seems to Jonah. The story picks up at the end with revalation of the involvement of what appears to be the Skull and Bone society. If you’re a Jonah Hex fan, I would suggest skipping this opening story arc and waiting for a more traditionally western tale to be released.

AQUAMAN
Since Brightest Day, Geoff Johns has been hyping up his renovation of Aquaman into a more badass character. Sadly, the first issue of Aquaman is not too impressive. Although Johns does a good job placing Aquaman in a modern setting, he spends most of the issue trying to prove that Aquaman is not a joke, but instead seems to simply perpetuate the joke further. The plot makes little sense, since most of the comic shows random humans making fun of Aquaman to his face, yet at the end of the issue Aquaman decides to abandon his kingdom and start a new life on land with his wife. Although I’m interested to see if the series picks up, I will not be spending any more money to feed my curiousity.


BATMAN: THE DARK KNIGHT
Despite being very nicely drawn, Batman: The Dark Knight is the weakest of the three new Batman titles. The first issue was generally forgettable and uninteresting. The plot shows yet another breakout from Arkham Asylum, with the appearance of a ‘roided out Two-Face at the end, who spouts one of the dumbest lines I’ve heard in comics “You can call me One-Face now.”






BLACKHAWKS
Blackhawks gives us a modern interpretation of an old team. All the characters are new and seem somewhat relatable, and there is a great deal of action involved. The new series carries the previous iteration’s tradition of giving the main characters nicknames that appear to be based on ethnic backgrounds, however unlike the original Blackawk characters these names are not so straightforwardly stereotypical, but instead stem from a specific story from the character’s past, making them more three dimensional. The story is somewhat interesting, but doesn’t really grab you. If anything I would wait and look at the first trade before investing any time with this title.


THE FLASH
Continuing with the same creative team as pre-Flashpoint, Flash #1 is wonderfully drawn in creative ways, but seems far more like a CSI Central City book than a Flash title. One major change is that Barry is no longer married to Iris West, but is instead dating his co-worker Patty Spivot. Also, it should be noted that there are still no signs of Iris’s favorite nephew Wally. The opening storyline is weak, which may deter new fans who began reading because of Flashpoint. Overall, this is an alright book, but not a very good Flash book.




THE FURY OF FIRESTORM: THE NUCLEAR MEN
The Fury of Firestorm: The Nuclear Men redefines the story of Firestorm by expanding what and who Firestorm is, while incorporating the two different protagonists that fans have grown to love. By including Ronnie Raymond, Professor Stein and Jason Rusch in the origin, The Fury of Firestorm appeals to various generations of Firestorm fans while offering up a completely new story that seems darker and more in depth than stories of the past.






GREEN LANTERN: NEW GUARDIANS
Continuing with the theme of giving each human Green Lantern a re-introduction, Green Lantern: New Guardians provides a simplified retelling of Kyle Raynor’s origin. Following this, the start of a mystery opens up concerning a multitude of mulitcolored lantern rings abandoning their owners and finding their way to Kyle an attempt to recruit him. Much like the other Green Lantern opening titles, this works as a great jumping on point for new fans.






I, VAMPIRE
At first glance, I assumed this title was made to appeal to the Twilight crowd, and would offer nothing of interest. I was incredibly surprised to discover that it provided a captivating story set in continuity, with dark undertones and great artwork. The protagonist is remniscent of Blade in his motivations, but has a more complex story, and a strong Frankenstein-like tie to the antagonist. I’m excited to see how this story will play out, and what role it will play in the greater DCU.





JUSTICE LEAGUE DARK
This title is basically the new Shadowpact. Not too much happens in this first issue, as an emphasis is placed on introducing all the characters, and putting together a purpose for the team to form. An interesting scene is shown where Superman, Wonder Woman and Cyborg are defeated by a sea of jagged magical teeth conjured up by a powerful crone. Although the first issue was not the most exciting, I feel like this is one title to watch, as it seems like it will become very interesting and hopefully thought provoking as the series progresses.




THE SAVAGE HAWKMAN
The Savage Hawkman is nicely drawn, but is not too interesting. Once again Hawkman’s origins are indeterminable and Carter Hall is not a particularly likeable character. It is intriguing to see that the Hawkman costume, made out of Nth Metal, is now apparently symbiotic, but it’s not enough to warrant reading any more of this series. I suggest either waiting for the inevitable re-introduction of Hawkgirl to pick up this title, or just avoiding it altogether.





SUPERMAN
The story opens with the demolition of the old Daily Planet building, and the unveiling of the new one, which symbolizes a sense of progression forward for Superman and his world. The story is written with an interesting editorial perspective, making the entire comic feel like a story written for the Daily Planet by Clark Kent. There is a great deal of action, but an equally large amount of character development, making a simple story about Superman fighting a fire monster much more compelling. The writing makes the reader sympathize with Clark Kent at the end of the story. Although I still believe Action Comics is the best Superman title of the new 52, Superman is a close second, and a title I would not miss.


TEEN TITANS
Without a doubt the best comic of the week, Teen Titans did a great job of re-introducing the characters of Kid Flash, Red Robin, and Wondergirl. Much of the story reads more like a spy tale than a superhero story, with Tim and Cassie being followed by mysterious men from N.O.W.H.E.R.E. throughout. There are plenty of easter eggs provided as well, with brief glimpses of Beast Boy, Starfire, Bunker, Miss Martian, Static, and a re-designed Raven appearing on Red Robin’s computer. A great moment in the issue is when Cassie first becomes Wondergirl and evokes (clone) Superboy’s first appearance by shouting “Don’t. Call. Me. Wondergirl!” which is ironic because she’s set to meet him in the next issue. I am incredibly excited for this series, especially since it runs hand-in-hand with the equally amazing new Superboy title.
VOODOO
Long story short, the entire comic revolves around a pair of federal agents at a strip club who are checking out the main attraction who performs under the stage name Voodoo. It turns out she’s an alien, but you don’t find out until the last page or two, so most of the story is a lot of unnecessary cheesecake. Basically, buying this comic is like going to a strip club, you waste your money and leave filled with shame and regret. This is a horrible comic that has no future; do not waste your time or dignity on it.

Part 3 can be found here: http://thegreen-dragon.blogspot.com/2011/09/52-pick-up-part-3.html
Part 2 can be found here: http://thegreen-dragon.blogspot.com/2011/09/52-pick-up-part-2.html

Part 1 can be found here:  http://thegreen-dragon.blogspot.com/2011/09/52-pick-up-part-1.html